Anna Barham, Susan Collins, Nadine Feinson, Joan Key, Charlotte Moth
Curated by Sotiris Kyriacou
5 September - 5 October 2008
Rather than aspiring to illustrate a theme, the exhibition has emerged out of the artists’ prioritising of and commitment to a framework for reflexive dialogue and the active engagement of the viewer with the rich complexities and contradictions each encounter proposes.
‘Travelogue’, borrowed from a title of an ongoing project by Charlotte Moth, is an apt description of such a journey, the wanderings and meanderings experienced on the way. ‘Content’ or allusions in the work – e.g. ‘landscape’ as genre or reference point - are not allowed to predominate; rather, what is highlighted is the role they play in the wider dynamics at stake.
At a time when we are often encouraged to believe that definitions of the political and the potential for criticality reside in variations of co-opting global and local scenarios or the earnest embracing of the hitherto ‘peripheral’, it is even more urgent to revisit and remind ourselves of the politics and pleasures that can be found in art’s more integral push and pull.
Anna Barham’s work utilizes geometry and anagrams as structures that ”are inherently incomplete or flexible, allowing or demanding an imaginative interaction with them.” She characterizes her practice as an investigation into “how making can be the physical manifestation of a thought process”, articulated from a variety of parameters, starting points and materials. Each work celebrates potential and mutability through the suggestion of permutations and possibilities.
Recent solo exhibitions include a solo presentation with Four Gallery at ‘ART 2007’, Dublin; ‘Trod Silver Bog Again’, Irish Museum of Modern Art, Dublin, 2005 (solo show following a residency at IMMA). Recent group shows include ‘On Your Marks’, Houldsworth, London; ‘Walls in Three Places’, White Nave, Dover, Kent, 2008; ‘Like Leaves’, Tanya Bonakdar Gallery, New York, 2007; ‘Lost Tongues Rediscovered’, Stroom, The Hague, 2007; ‘etc’, Amagerfælledvej Art Project, Copenhagen, Denmark, 2007. Forthcoming shows include ‘About 100 Experiments’, Birr Castle Pavilion, Birr, co. Offaly, Ireland, 2008.
Susan Collins is Reader in Fine Art at the Slade School of Fine Art and is one of the UK’s leading artists working with digital media. This presentation of ‘Harewood’, a live, pixel-by-pixel webcam feed from the Capability Brown landscape of Harewood House, Leeds, is accompanied by a series of digital prints, each image made up of pixels collected over 21.33 hours. The lure of the picturesque idyll is simultaneously inscribed and disrupted by digital technology.
Recent projects include ‘Fenlandia’ and ‘Glenlandia’ - live year-long internet transmissions from remote landscapes and ‘The Spectrascope’, an ongoing live transmission from a haunted house. Recent group exhibitions include ‘Outlook Express(ed’), Oakville Galleries, Ontario, Canada, 2007; ‘Digital Aesthetic 2’, Harris Museum and Art Gallery, Preston, 2007; ‘Webscape’, Vestsjællands Kunstmuseum, Søro, Denmark, 2007; ‘Video Vortex’, Montevideo/The Netherlands Media Art Institute, Amsterdam, 2007; ‘Multiplicities’ ARC Projects, Sofia, Bulgaria, 2007. Forthcoming projects include a solo show at De La Warr Pavilion, Bexhill-on-Sea, in collaboration with Film and Video Umbrella, 2009.
Nadine Feinson is interested in painting’s “ability to create illusion, to convince, to seduce and yet be formless, indistinct matter, dead but not dead..…What is this relationship between the thing and the illusion, the tension between actual and virtual?” she asks.
Feinson is currently undertaking an M.Phil in Painting at the Royal College of Art, London, after completing an MA Fine Art at Goldsmiths College, London. Recent and forthcoming group exhibitions include ‘The Future Can Wait 08’, Old Truman Brewery, London, October 2008; ‘New London School’, Mark Moore Gallery, Santa Monica, LA, 2008; ‘Shadowy’, Standpoint Gallery, London, 2008; ‘Avatar of Sacred Discontent’, touring exhibition, 9 Hillgate Street, London, 2007; ‘Salon 2007: New British Painting and Works on Paper', 319 Portobello Road, London.
Joan Key explores painting’s insistence on the sum of its parts whilst also suggesting the possibility of meaning. Her collaborations with musicians and performers explore the idea of the paintings extending into other modes of presentation, such as the interpretation of marks as musical scores. The conscious choice of orange as the protagonist in her latest series of paintings stages tensions between its intense demand for attention, its matter-of-factness and faux atmospherics, to great effect. “Once there was an orange mark on the canvas, it had to be taken into account. So much so that the spectator experiences an on/off engagement as the mind wearies of its saturation and strong optical effects, only to be intrigued again.”
Recent exhibitions/projects include ‘Walls in Three Places’, White Nave, Dover, Kent, 2008; ‘On Instructions from Marcel Duchamp’, graphic score performed by Apartment House, Soundwaves Festival, Brighton; ‘Still/s Compositions 1-6’, graphic score in collaboration with composer Richard Ensley, St Ann and St Agnes Church, City of London, 2008.
Charlotte Moth began taking photographs of architectural spaces and locations around ten years ago, an ongoing archive that she has named ‘Travelogue’. Presented without contextualising details and in a variety of formats as well as parts of bigger installations, the images act as triggers for the imagination, echoing the impetus that led to their original creation.
Currently on a residency at IMMA, Dublin, Moth has also recently completed residencies at The Pavillon, Palais de Tokyo, Paris and Cite International des Arts, Cultures France. Forthcoming exhibitions include 'Hermes und der Pfau', Dorten Haus, Stuttgart, (solo), November 2008; 'LA Works', LACE, Los Angeles / Stroom, The Hague (group). Recent group exhibitions include 'Object, the Deniable Success Of Operations', Stedelijk Museum Bureau, Amsterdam; 'Pavillon 7', Palais de Tokyo, Paris.